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3.
What is creativity?
National Advisory Committee on Creative and Cultural Education (NACCE, 1999;
provided a definition of creativity that could be, and has been, harnessed by
educationalists. This identified four characteristics of creative processes. First, that
they always involve thinking or behaving imaginatively. Second, that this imaginative
activity is, overall, purposeful: that is, it is directed to achieving an objective. Third, that
creative processes must generate something original. Fourth, that the outcome must
be of value in relation to the objective. An important element of this definition is that it
anchors creativity within purposeful activity that is, in turn, given meaning from coming
within a given domain

5.
Why is Creativity Important?` `
Education is seen as a nurturer of talent required for the
creative industries of the UK.
Similarly, the ‘Next Gen’ report of NESTA has stated that
schools would need to change their teaching of ICT in
order to support the creative industries of console game
production and film effects
(Livingstone & Hope, 2011 p 1).
EU Educational and Training 2020 Policy (2012) has
reinforced this view in its emphasis on innovation as a
core educational objective.
` `

7.
Creativity & Culture
A shift from theories which prioritise creativity as an individual psychological
property to those which, in addition to the cognitive development of the child,
pay attention to the social and contextual environment in which creativity can
flourish.
In this regard, studies by a range of influential scholars on creativity in England
have placed a strong emphasis on open, exploratory and collaborative spaces as
essential to enabling creativity (Jeffrey and Craft, 2004; Cremin et al., 2006).

9.
Six Myths about Creativity
The sixth myths identified by Sharp are the assumptions that:
(i)creativity is confined to arts and culture, leading to the under-recognition of the role
and significance of creativity in fields such as design, technology, engineering and
science;
(ii) that knowledge transfer across domains is unproblematic;
(iii) that creativity equals fun;
(iv) that creativity is an elite trait, restricted to a few very talented individuals;
(v) that education for creativity can be provided through unstructured play and
unsupported activity; and
(vi) that creativity does not require a high level of subject knowledge..

11.
The need for creativity?
Building upon the definition of ‘information’ by Gregory Bateson (1973) as
‘information is a difference that makes a difference’, it might be argued that creativity
is about identifying and then harnessing difference to enable successful innovation.
`

13.
Creativity in Education
The very nature of creativity in education remains ambiguous. To what
extent creativity in primary education is conceived of as involving
creative partnerships, as opposed simply to valuing and nourishing children’s ideas
in multiple contexts, is not clear.
To what extent collective or collaborative creativity is valued as against individualised
models is also unclear, similarly there are still slippages in language between
‘creative teaching’, ‘teaching for creativity’ and ‘creative learning’.

15.
Creativity & Learning
The CPR (2009: 489) provided an elaboration of this process, acknowledging
creativity within cultural parlance whilst emphasising the active role of the learner:
Creativity is understood not only in terms of exposure to artistic and imaginative
endeavour but as contributing to the quality and capacity of children’s thinking and to
their perseverance and problem solving abilities... children are now viewed as
competent and capable learners, given the right linguistic and social environment and
teaching which engages, stimulates and challenges their understanding.

19.
Enhancing Creativity
In Creativity: find it, promote it,
the QCA (2005) suggested that it
is possible to identify when pupils
are thinking and behaving
creatively in the classroom by
using the following framework:
in Learning: Creative Approaches
that Raise Standards, Ofsted
(2010: p 3) pupils’ motivation,
progress and attainment in
primary and secondary schools are
improved by creative approaches
to learning such as
questioning and challenging;
making connections and seeing
relationships;
envisaging what might be;
exploring ideas, keeping options open;
reflecting critically on ideas, actions and
outcomes
stimulating pupils with memorable
experiences and practical activity;
allowing pupils to question, explore and
challenge ideas;
encouraging pupils to think creatively;
and
supporting pupils to reflect on and
evaluate their learning

21.
Questions relating to assessment are not insignificant for
teachers seeking to develop creativity in pupils; indeed they
are crucial.
... creativity cannot occur without some form of content.
Indeed, creativity requires content – in terms of
knowledge and skills – to provide it with a purpose or
challenge, and to add or to gain value.
Why Assess Creativity?

23.
How to Assess Creativity?
Ferrari, et al. (2009: 2) proposes a series of requisites for creativity and
innovation in schools. These factors have been called enablers and are the
circumstances or support mechanisms that make creativity and innovation
more likely to thrive. These are:
‘assessment; activities to encourage learners to benefit from what that have learned together in
order to highlight future progress rather than emphasis competitive comparison
culture; where students' ideas, interests and opinions are welcome.’
curriculum; which balances prescription and flexibility.
individual skills; in a way which recognises that there is a minimum threshold of knowledge
teachers; have a vital role in the kindling or stifling of creativity
technology, stimulating alternative ways of fashioning knowledge creation and meaning
making
tools; space, resources and networks, in order to provide virtual and real interactive
opportunities and structures for learning and teaching